|BOY ZERO: VOLUME ONE, January 2016|
Interestingly however, the “award winning” filmmaker’s plot isn’t simply a straightforward tale of one of the portly policeman’s more grisly investigations, as its occasional decade long time jumps denote. Instead, the published author’s narrative also provides plenty of mystery in an underlying story-thread which sees artist Shiloh Penfield proficiently pencil the “hero detective” being psychologically analysed by a doctor so that the Mayor can force him into early retirement and ‘satisfactorily’ sign-off another chain of homicides against Nigel’s instinctive better judgement.
This additional scene, admittedly tremendously dialogue-heavy, yet absolutely crammed full of atmosphere, really brings some depth to Drekker’s potentially dislikeable character, so that by the time the foul-mouthed law enforcer is depicted allowing his partner Kip to nauseatingly torture their suspect in a secure hospital ward towards the end of “The Ember Rose”, it’s clear that the man does so “because I am not particularly fond of explaining to parents why their child has been hacked into little pieces” as opposed to being some sadistic tormentor in his own right. Indeed, the policeman’s sole motivation in life appears to be that “on my best day I may be able to prevent” such a thing from happening, and resultantly he’ll question a fellow officer’s manhood if they’re driving too slowly, as well as repeatedly verbally abuse his work colleagues, just to ensure he catches his suspect before they try to kill again.
|Written by: Charles Chester, and Artwork by: Shiloh Penfield|